Preface. I have gleaned these insights over a lifetime study of music and nature, and now I will show you how to apply them to your banjo playing.

Transcription

1

2 Preface If you study nature closely you will start to understand the strategies and techniques that the natural world has developed over millions of years! Many of these strategies can be applied to the banjo. With practice, your banjo playing will become enjoyable, natural and effortless! Nature flows. Wind and water move effortlessly through an environment filled with obstacles. Observing plants and animals can teach us how they accomplish amazing feats with minimal effort. You might be thinking, ʺIʹm not a tree or drop of water. What does this have to do with me?ʺ Well, thatʹs what I hope to explain in this book. I have gleaned these insights over a lifetime study of music and nature, and now I will show you how to apply them to your banjo playing. Each chapter presents a lesson learned from nature. I have tried to maintain a consistent organization where each chapter has: 1. An Overview of the Concept. 2. An Activity where you go out in nature and make some observations. 3. An Exercise that gives you a chance to apply the concept to the banjo. It is my hope that the concepts contained in this book will make your banjo playing more interesting and enjoyable, but it is also my desire that you will be inspired to get out and enjoy nature at a deeper level. I believe that we are meant to live in harmony with the natural world. We should feel just as much at home laying on the soft grass of a mountain meadow as we are at home sitting in our nice comfy recliner. This is a reference book and a workbook with practical exercises to illustrate each concept. As such, you donʹt need to work your way from beginning to end. Feel free to jump around and spend more time on some 1

3 concepts and less time on others. Many of these concepts are fun to just think about, but I also want this to be a hands-on playing book. So, pick up your banjo and letʹs get started! 2

4 Table of Contents 1. Flow Like a River Water and Wind Activity 1.1 Spend Some Time Observing Natureʹs Flow Exercise 1.1 Practice This Approach on the Banjo Exercise 1.2 Apply This Approach to a Familiar Song 2. Conservation of Motion Go to the Ant Activity 2.1 Discover Examples of Conservation of Motion Exercise 2.1 Stay Close to the Strings Exercise 2.2 Guide and Pivot Fingers Exercise 2.3 Right Hand Motion 3. Conservation of Energy The Beauty and Grace of a Seagull in Flight Activity 3.1 How Nature Conserves Energy Exercise 3.1 The Play and Relax Technique Exercise 3.2 Only Enough Pressure Exercise 3.3 Partial Chords and Open Strings Exercise 3.4 Apply these techniques to a song 4. Focus on the Target Observe the Eagle, the Fox and the Frog Activity 4.1 Watch Creatures in the Wild Exercise 4.1 Slides Exercise 4.2 Chord Planting 5. A Variety of Sounds The Sounds of Nature 5.2 The Heart of Music is Timing 5.3 The Soul of Music is Dynamics Activity 5.1 Listen to Natureʹs Sounds 3

5 Exercise 5.1 Apply These Lessons to Your Playing 6. The Natural Approach to Practice Natural Forces 6.2 Once I Was a Mucker Activity 6.1 Learn How Nature Does It Exercise 6.1 Natural Practice 7. The Natural Approach to Playing What is Your Approach to Playing? 7.2 Pet Your Dog Activity 7.1 Understand This Approach Exercise 7.1 Apply This Approach to the Banjo 8. Nature Sings Without Worry Birds Donʹt Worry about What Others Think Activity 8.1 Observe Animal Behavior Exercise 8.1 Donʹt Worry, Be Happy! 9. Anticipation Means No Surprises Bird on a Wire Activity 9.1 Observe Animal and Insect Behavior Exercise 9.1 Anticipate Chord Changes Exercise 9.2 Slides That Put Your Left Hand in Position Exercise 9.3 Right Hand Picking Exercise 9.4 Read Ahead 10. Strength The Bear 10.2 Strength Makes It a Lot Easier Activity 10.1 Observe Nature and Observe Great Players Exercise 10.1 Strength in Your Hands 4

6 11. Momentum Momentum in Natural Events Activity 11.1 Look for Examples of Momentum Exercise 11.1 Use past Successes to Move You Forward 12. Limitations and Setbacks Nature Thrives Despite Limitations 12.2 The Ant in the Parking Lot 12.3 The Principle of Renewal Activity 12.1 Look for Examples of Persistence Despite Limitations Exercise 12.1 Letʹs Get Specific 13. Knowledge Humans vs. Stronger Animals Activity 13.1 Make a Plan to Increase Your Musical Knowledge Exercise 13.1 Use Knowledge to Improve Your Playing 14. Natureʹs Diversity Natureʹs Diverse Community Activity 14.1 Observe Unique Strengths Exercise 14.1 Decisions Based on Your Unique Strengths 15. Natureʹs Jam session Balance, Harmony and Interaction 15.2 Mountain Music 15.3 Trees and Rocks Activity 15.1 Take Time to Just Listen Exercise 15.1 Record Some Interesting Sounds Exercise 15.2 Letʹs Jam! 16. Where Do We Go from Here? The Adventure Continues Meet the Author 66 5

7 1. Flow Like a River 1.1 Water and Wind Nature has a balance and flow that we can learn from. Think about water and wind. Think about natureʹs cycles both short and long, and let your banjo playing become fluid. This first lesson is about the ʺflow stateʺ and how to allow your left hand to move over the fingerboard like water flowing in a stream. What a lovely and natural concept! After all, we are playing music. Shouldnʹt the mechanics of right and left hand be smooth and fluid? 6

8 Activity 1.1 Spend Some Time Observing Natureʹs Flow To understand this concept we need to spend some time observing natureʹs flow. This is important. Donʹt just think about it, go out and do this activity. Even if you have spent a lot of time in nature, do this again. Find a nice quiet spot by a stream where you can sit comfortably for a while. Donʹt be in a hurry - take plenty of time to relax, to listen, and to watch the motion of the water. Observe how the water finds its way effortlessly around obstacles. What does it sound like? Do you hear higher or lower pitched sounds? Is there a little waterfall where bubbles are formed? Become familiar with this stream. Get to know it as best you can. Now, picture the banjo fingerboard and your left hand moving over it like the water in this stream. Imagine fretting notes and forming chords with this same smooth flow between them. For the motion of your left hand to be smooth you have to know where you are going ahead of time. So think of moving smoothly between specific chords or fretting specific notes. This should be a relaxing and enjoyable experience. Donʹt struggle with it or get frustrated. Weʹre starting to build the habit of relaxed concentration. If there isnʹt a stream close by you can accomplish the same thing by observing the wind blowing through the trees, ocean waves lapping the shore, or any similar natural flowing motion. Exercise 1.1 Practice This Approach on the Banjo Letʹs practice this motion on the banjo. Weʹre going to strum I, IV, V, I (G, C, D, G) with a nice slow flowing motion of the left hand as we move between chords. Forget the 5th string for now. Just strum the first four strings. Strum each chord twice and then move to the next one. As you practice this exercise think back to your 7

9 experience observing the flowing stream, and make your left hand imitate the water. Here are the chord forms to make: Exercise 1.2 Apply This Approach to a Familiar Song Now, hereʹs the fun part! Take a familiar song (make it an easy one) and apply this same left hand technique to it. For it to feel natural you may have to slow it way down at first. Speed will come later. The eventual goal is to have a relaxed, flowing left hand for all of your playing. 8

10 2. Conservation of Motion 2.1 Go to the Ant Over millions of years nature has designed ways to accomplish more with less effort. This means nature has developed efficiencies in terms of conservation of motion and conservation of energy. These lessons are obvious once we know how to look for them. Have you ever wondered why anthills take on a conical form? I have watched ants carrying grains of sand from underground. They carry it right to the rim of the cone and drop it. They don t drop it before they reach the rim because it might roll back, and they don t carry it all the way down the other side that would be a waste of energy. If they do this randomly, in all directions, a cone results. 9

11 Up here in Prescott, Arizona there was a lot of mining activity during the early 1900ʹs. In the Bradshaw Mountains you will see lots of mines and test holes. Usually a test hole will have a conical shape just like an anthill. The old miners were doing the same thing as the ants. They had to remove some material, but they werenʹt going to carry it further than necessary. Near a mine shaft you will usually see a ʺtailings pile.ʺ Again, it is not far from the mine entrance. Even nonliving things seem to conserve motion. Volcanoes and meteor craters have the same conical shape as an anthill. Do they follow the same natural laws? The picture below is a minerʹs test hole. 10

12 In nature there are many examples of conservation of motion. Even the vanes in a leaf have an efficient way to distribute nutrients. Activity 2.1 Discover Examples of Conservation of Motion Take a hike in the woods or visit your favorite natural place. It doesnʹt have to be a beautiful pine forest. You can learn these lessons at the seaside, in the desert, or even in your local city park. Look for various examples of conservation of motion. You may come across a game trail going up over a hill. Stop and study it for a while. Would you have taken a different route or is this one pretty much the best way up over the hill? 11

13 Study the path a stream has taken down into a valley. Has it chosen the most efficient path? Some of these things may seem obvious, but the longer you study them the more you will learn. Can you apply the concept of conservation of motion to make your banjo playing more effective and enjoyable? Letʹs try a few examples. Exercise 2.1 Stay Close to the Strings The further you move your fingers away from the strings, the further they have to come back. This applies to both the right hand and the left. This isnʹt rocket science, but so many times we just donʹt think about it. In this exercise we are going to move between chord forms and see if we can keep our left hand fingers within one-quarter inch of the strings. Weʹll start with the three basic open chords and then see if we can do the same 12

14 thing fretting 4-string closed chords. As we did in Exercise 1.1, we want to keep the left hand motion fluid, but now we also want to concentrate on keeping the fingers close to the strings. Strum each chord twice and then move to the next one. Once these moves feel comfortable make sure you play them in time using a metronome. 13

15 Exercise 2.2 Guide and Pivot Fingers Another way to reduce motion and make a smooth and efficient transition between chords is to use Guide Fingers and Pivot Fingers. A Guide Finger guides your hand to the next chord. That finger frets the same string in the next chord but you have to move your left hand up or down the neck. Once you are in the new position all you have to do is put the other fretting fingers down. Because the Guide Finger stays on the same string during the transition, it guarantees economy of motion. A Pivot Finger is one that stays in exactly the same place as you change from one chord to the next. Your left hand doesnʹt move up or down the neck. You simply place the other fingers in new positions. Both of these techniques not only promote conservation of motion; they also help your left hand to be more stable and accurate! Hereʹs an easy one using your left hand index finger as a pivot finger. Change from an open C chord to a D7 and then back again keeping the index finger on the 2nd string, first fret. Do this a few times and then play C, D7, Dsus, and G. Here are the chord forms: 14

16 When playing, do you typically make this change using the index finger as a pivot finger? How does it feel in your left hand? It should feel pretty natural. Notice that your hand doesnʹt move at all - you are just pivoting some fingers around that 2nd string, 1st fret position. Spend some time just messing around looking for other examples of pivot fingers. Once you find them, see if you can integrate them into your songs. Hereʹs a simple example of using a Guide Finger (and itʹs also a great exercise for moving closed position chords around). In this exercise we are going to move between the G chord and D chord. Imagine your ring finger guiding your hand between these two positions. Itʹs OK to lift the ring finger a little bit, but not much. Also, concentrate on eliminating any ʺscratchyʺ sounds as your hand moves. At first just strum and then try a little picking pattern as shown in the tab or just make up some patterns of your own. 15

17 Exercise 2.3 Right Hand Motion Conservation of motion is important for the right hand too. If you watch great banjo players it looks like their right hand isnʹt even moving! Now, thatʹs conservation of motion. Real fast picking requires finger picks to reduce the drag of flesh on strings and also keeping your fingers close to the strings. Excess motion will slow you down. Again, the question is why let your fingers fly all over the place? You just have to come back and strike the string again. Planting a finger(s) on the head helps to keep your right hand in place. 16

18 ʺAnchorʺ is probably not the best term to use because it implies the finger is stuck to one spot really solid and canʹt move. A light touch is plenty for stability, and your right hand is still free to move closer to the bridge or fingerboard to achieve the dynamics and overtone content you want. Letʹs practice some roll patterns with minimum right hand motion. As you play these rolls keep the following in mind: 1. Keep your right hand as relaxed as possible. Try to eliminate any tension. Relaxed concentration provides for speed, strength and control. 2. Keep your right hand fingers close to the strings. Experiment a little and find the right amount of movement for efficiency and a good tone. 17

19 18

20 3. Conservation of Energy 19